Charlie Lankester and The Mojo Killers: Song In A Minor Key

When released a few weeks back the single The Spinning of the Wheel from Charlie Lankester & The Mojo Killers, not only lit up the passions with its energetic and infectious sounds but fired up expectations and anticipation for the following album, Song In A Minor Key. The song suggested it could be something rather good but the reality is it just might be a modern blues/rock n roll classic.

The career of Australian singer / songwriter / pianist Charlie Lankester to date has been a full and impressive one. From dropping out of medical in the late seventies, he spent four years in The Last Chance Café who in their time supported the likes of Fats Domino, BB King, JJ Cale, AC / DC, Billy Joel and Status Quo. Upon the demise of the band he moved to Europe where as well as training and working as an osteopath he spent twenty years playing keyboards for the likes of Linda Gail Lewis, Osibisa, Otis Grand, The Boogie Band and the John Warwick All Stars. His yearning to fulfil a lifelong ambition to write and record his own solo album grew over time too and eventually he took time out to create his own collection of blues/rock songs which became Song In A Minor Key.

Things took a setback when on the eve of mixing the final track for the album in December of last year; Lankester was diagnosed with incurable liver cancer and told he had just months to live. His response was in his own words, “I was feeling so good about the album that when the doctor told me I had only months to live I just laughed and said ‘No mate, that’s not gonna happen. I’ve got an album to release.”  Since then things have through determination and the exploration of the very best alternative medical advice, seen his tumour having been reduced by fifty per cent thanks to dedicated diets and supplements for cancer as well as several courses of intravenous doses of high intensity vitamin C. Alongside all of that he continued to finish one of the best rock albums of the year in Song In A Minor Key, a release which hits all the right notes outside and within.

Pulling together the talents of guitarists Derek ‘Del’ Mandel  and Mark Hawkins, bassist (stand up and electric) Dave Cuthbert, and drummer Daniel Howard, as well as a brass section of Paul Silver, Gain Broom and Rich Mills to become the Mojo Killers, Lankester found the strongest way to bring great songs into glorious realisation. Immediately the album opens with the striking Greed, the ear, senses, and imagination are hooked. Like a sonic bullfighter, the song steps into the light with drama and confidence through piano, keys, and a crescendo of horns. With a slightly raw edge to the vocals of Lankester to add to the intense air, the track romps with attitude and grandeur whilst the Latin essences seeping through the heart of the song only adds to the depth of the passion.

The smoky blues barroom heat of Drinking My Blues Away follows next to offer a mesmeric and smouldering piece of shadowed melodrama. With a darker growl to the vocals and guitar play which leaves traces on the air like sparklers in the night sky, the song is an emotively soaked stroll to thrill in every aspect.

The album is wonderfully varied, from the sizzling blues driven Brixton Road and the sultry jazz breathing Out There to the electrified southern rock toned In My Time and the soulful title track, the release is a diverse and absorbing wealth of inventive songwriting and play. It is an album where everything is impressive in stature and instinctive passion though there are loftier highlights which grab the glory

The aforementioned single The Spinning Of The Wheel is an irresistible well crafted piece of rock swagger and brass delight which is merciless with its mesmeric charms. The song is a heart stealer but even its majestic might is rivalled and surpassed. The garage siphoned rock n roller The Real, Real Gone is a shadowed equal with its darkened corners and fiery blues veins but the pure excellence of Rio Grande and Closed Door steal top honours. The first is an insatiable rockabilly hearted stomp with a blues piano lighting its corners and a teasing energy igniting primal urges within limbs and senses of its recipient. It is easily the best song on the album though seriously challenged by the final track on the album, Closed Door. Written by drummer Howard, it is a prog noir exploration of inciteful bass and melodic conjuring. Sounding like a mix of Hugh Cornwall, Miles Davis, and King Crimson, or not, the track that distinctive yet unique, it is a stunning and unexpected but wholly agreeable finish to a great album.

We started with saying Song In A Minor Key might be a classic, but there is no might about it, Charlie Lankester & The Mojo Killers have created an album which will be acclaimed for decades.

http://charlielankester.co.uk

RingMaster 31/08/2012

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To The Lions: Self Titled EP

If you want your musical balls given a real beating whilst being caressed with melodic enterprise to sooth the damage, then time to meet UK metal band To The Lions and their tremendous new self titled EP. Four tracks of raging brutality and impressive melodic invention, it is a fresh and imaginative addition to what has been a year of promising and strong emerging extreme and metalcore fuelled UK bands. The Cambridge quartet do not quite fit in any exact category which is the first good thing about them but certainly they can be as aggressive and angry as any and just as inspired with their inventive ideas and smoother passions too.

Formed in the last weeks of 2008, the foursome of vocalist and guitarist Tony Stead, guitarist James Croft, bassist Nigel Ferguson, and drummer Mark Richards, have spent the last year and a half on a blur of gigs as they promoted and shared their well received debut EP Spent Shells. Shows with the likes of Forever Never, Orestea, RSJ, Sworn Amongst, and Kobra and the Lotus, have gone to help spread their presence and sounds across the South of England and with the new EP it would be surprising if the next time they appear on the radar we are not noting them as being at the fore of emerging British metal.

From the moment There’s A Reason winds its scorched notes around the ear and bursts into stiff muscular assaults of riffs and barbed rhythms, there is a feel that something mighty is about to let loose on the senses. The band does not disappoint as the venomous tones of Stead rage over what has become slightly subdued yet intrusive sounds. It then shifts into an unexpected but skilfully brought melodic breath before merging the extremes of intensity, entwining them with invention and passion. This makes for a shifting varied track which arguably without lighting undiscovered beacons is fully intriguing and in its latter progressive air, wholly beguiling.

From a strong start the ride gains greater heights of excellence and addiction. The following Oceans Away bawls like a storm from the off, its surging riffs and challenging intensity a crush on the senses. Beneath it all though there is a melodic presence waiting and soon it explores the track in unison with the abrasive drive of the song. With great harmonies and group shouts tempering the vocal menace and impressive fiery guitar play keeping the tempest of shuffling barbaric rhythms honest, it is a tempest to devour eagerly and deeply. As the guitars burns with an acidic groove and the anthemic chorus returns for its climax, the track leaves one breathless and grinning.

The other pair of tracks carry no intentions of easing up on the intense rampage, to only further pleasure. Wolves And Lions is a metallic scream, an inferno of bruising riffs and bitter soaked vocals upon serpentine grooves and thrash tinted expulsions of noise and sonic vindictiveness. It twists and blisters the senses whilst taking pot shots at the ear with an armoury of destructive malice from the violent creativity of the band.

The closing Fourth like the opener does not stand right out from the crowd like the second and third track do, but still open up a maelstrom of satisfaction, pleasure, and anticipation for more from the band. It is a powerful and thunderous track which again show To The Lions as a band with a flair and skill at melding light, dark, anger, intricacy, violence and composure, into one boiling onslaught of quality.

Remember the name To The Lions, if they continue to progress as they are they will be a big force and name in future years.

http://www.tothelions.co.uk

Ringmaster 31/08/2012

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Onoma: All Things Change

When recently reviewing the excellent From Israhell With Love compilation, a release which highlighted the strength and diversity of metal bands coming out of Israel, one band stood out over what was an impressive line-up of bands and songs. The band was Onoma, a Tel Aviv based alternative metal quartet whose track Bug was an instant addiction with its vibrant and fresh sound, ideas, and energy. Their contribution ensured the need to hear more and the opportunity came when guitarist Asaf Keidan from the band approached The RR for a review of their album. Obviously being professional we deliberated and thought about the offer…for all the time it took to type yes please… and what emerged was an album which excited and thrilled like so few other releases have in recent months. All Things Change is outstanding, an album which took no time in entrenching itself in the imagination and heart.

Onoma, the Greek word for ‘Name’, were formed in 2007 by Keidan, vocalist Elad Koren, and drummer Saggi Chen. Early demo recordings during the first couple of years led to songs like My Drug, Twisted, and the aforementioned Bug, gaining strong attention and praise across the internet and web radio whilst the next two years saw not only an ever increasing interest and following as the band gigged across Israel, but also the addition of bassist Andrei Aframov (ex-Phantom Pain) to the permanent ranks. Last year the band ventured into the studio to begin the album alongside famed producer Sylvia Massy (Tool, System Of A Down, Skunk Anansie, Deftones) who mixed it and James Murphy (Death, Obituary) who handled the mastering, with the band itself doing the production work. What emerged is a release is quite stunning.

All Things Change is an album which incorporates a multitude of sub metal genres to conjure up distinct brews of alternative and nu-metal driven goodness. The band state their influences as bands like Alice In Chains, Korn, Deftones, and Meshuggah, all clear to hear at times, but their spicery does not stop there as at times the likes of American Head Charge, (Hed) P.E.,  Watcha, Marilyn Manson, and Scars On Broadway to name a few, shoot through thoughts as the tracks unleash their inventive craft.

The album starts with Lauds, a short track come intro, which heightens the anticipation of what is too come with its chilling ambient and slightly distressed breath. The release is soon into its stride with Dear God and its military welcoming beats and abrasive riffs. Within moments it settles into a tight heated groove and djent toned rhythmic badgering. The vocals of Koren pick and chew at the lyrics delivering them in a Jonathan Davis like style which is as punchy as the jabbing and combative sounds. Once the melodic whispers turn to shouts there is a Drowning Pool like aggression added to further ignite the senses, the track climaxing on a belligerent and compulsive swagger.

The outstanding start is easily matched by the following Cannot Go and Loser Friendly. The first stalks the ear with tempting riffs and intimidating rhythms, its prowl a disruptive pattern of challenging and deeply rewarding invention. The song stomps and musically curses the ear with an angry intensity and deliberate antagonistic air whilst soothing its wounds with melodic enterprise. The second of the two is a heavy and shadowed Deftones like gaited piece of emotive expression. It has its moments charging with incendiary bursts of energy but at its core is an enveloping provocative slab of passionate might which bruises as much as it exhilarates.

The brilliant Bug ensures there is no dip in excellence or power, though all songs ensure the same. It is one of the most additive songs heard in a long time and a track which only takes one listen to become a best friend. The track is a tempest of melodic and discord driven wonder which captivates and riles up the emotions with equal effect. It has the melodic grace of Absolace, the creative imagination of iBURN, and the mischievous invention of System Of A Down, all driven by the spinal corruption of Periphery. Immense is the only word for it, and as you may have guessed we quite like it.

With the magnificent Animal coming at the ear with the same venomous conjuration as Bug, and the great closing pair of Fight Myself and Nothing Right offering a final ferocity and towering mix of melodic intrusion and muscular violation, All Things Change is easily one of the best things heard this year. Earlier this year we declared nu and alternative metal had been revitalised with the ingenuity of the release from Irish band iBURN now Onoma have shown it is truly thriving and more imaginative than ever.

http://www.onomaband.com

Ringmaster 30/08/2012

Copyright RingMaster: MyFreeCopyright

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Dark Stares: Tell Your Friends EP

Dark Stares is one of those great bands which draw multiple comparisons to a wide array of bands but really do not sound like any of them. They may at times come up with a sound or riff which echoes another band but they are mere colourful strokes within a storm of individual creativity. The quartet from St Albans in the UK, has had the likes of The Killers, Muse, Manic Street Preachers and even The Mars Volta to name a few, offered as references in varying degrees to their music. To that you could just as easily add others like Faith No More and Green Day at certain moments of individual songs, but though still a band evolving their sound and distinctiveness, Dark Stares have a sound which has its own flavour.

Tell Your Friends is the debut EP from the band and what a stunner it is a release which unleashes rock n roll at its best, energetic, towering, and with a spine of powerful riffs alongside veins of irresistible grooves. Formed in 2011, the band consists of three brothers, Miles Kristian, Brett Harland and Taylor Howell (vocals and guitar, bass, and drums respectively) alongside guitarist Harry Collins. As their first year neared its end the band found themselves with high profiles gigs under their belt including supports slots for Enter Shikari and The Darkness. 2012 has seen the band go from strength to strength and with the release of Tell Your Friends on September 10th announce their full arrival in fine style.

Dark Stares open up with the stirring Whisky which immediately has feet and senses in league with its stomping rhythms and melodically guided riffs. Its energy is raw and slightly abrasive to ignite the fullest attention which the addictive grooves and heated hooks feed with relish. Not quite a storm, the track is a powerful stomp through the ear which with its multi faceted flavouring, lights multiple fires with. The guitar play is striking and fills the skies with delicious sonic sinders whilst the melodic craft around it comes from hard rock at its best.

It is an impressive start soon surpassed by the mighty Long Live The King. The song takes no time in giving suggestions as to why bands like Muse, Manics and Queens Of The Stone Age have been mentioned in the same breath as their sounds, its presence again a flurry of elements combined for an inferno of excellence. As all the songs show, Dark Stares gets the job done without over blown theatrics, the drums and bass unleashing instinctive hard and dangerous edges whilst the guitars and fine vocals explore and light up all their shadows. It is the perfect union for an outstanding and deeply satisfying result. On this song they simply leave other rock bands in their dust, the infectiousness and addition it offers taken to illegal levels.

Third track We Are The Kings Tonight wraps around the ear with a less intense eagerness though with equal strength and skill. It offers a mid pace drive which paves the way for sharp and inciteful play amidst melodic caresses which draw sighs, manly ones of course. The vocals of MK Howell are exceptional and across the whole release he shows he is a versatile and controlled power to match and ignite the music and songs, as they do his emotive delivery.

     Invaders ends the EP on another rampage of contagion, its grooves and riffs instantly your best friend and its heart a boisterous yet passionate embrace. Anthemic and with a mischievous swagger at times the song is an immense end to the release and completes one of those rare times where every song ends up as the favourite.

Dark Stares will be like their EP, immense. They still have much to discover within their creativity and music which with the strength of Tell Your Friends makes for one exciting thought.

http://www.darkstares.com/

RingMaster 30/08/2012

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Alaska Campus: When We Were Young EP

If indie pop has been feeling a little stale in recent months for you then checking out the new EP from UK band Alaska Campus is a must to rekindle the enthusiasm. The When We Were Young EP is an exciting and superbly crafted explosion of melodic might which equally caresses and warms the emotions or stirs them up with eager energy and enterprise across its five tracks.

Formed in 2011 by Ryan Potter (synth, rhythm guitar and lead vocals) and Daniel Dorney (synth, lead guitar and backing vocals) in college, Alaska Campus initially started out as a post-hardcore sounding project by the duo. Though the sound and band, with the addition of Liam O’Sullivan (drums, percussion and backing vocals) and Liam Fossey (bass, and backing vocals), has evolved to a more expansive and melodic proposition they have still retained an edge and abrasive tension within their music. August of the same year saw the release of their Keep Yourself Warm EP to strong acclaim. The Hertfordshire quartet now return with a release which elevates their sound and surely will their stature within the UK once it is released September 10th.

The band list their inspirations as bands like The Smiths, Death Cab For Cutie, and Bombay Bicycle Club, and as the tracks play these flavours are obvious to some extent though it is fair to say the band has a distinct spice of their own which leaves the strongest and brightest taste. The EP opens with You Me And The Sun, a song which enchants the ear immediately with its jangling porcelain guitar riffs and beckoning. Stepping back at first to let the emotive vocals of Potter approach the ear, the track is soon adding spots of rhythms and sonic lights to emphasise the passion within the words. With crashing crescendos and glorious vocal harmonies as it evolves the song becomes an irresistible anthemic lure, a rousing feast of energy and sound to get the heart pumping faster and pulse rate racing, not to mention to leave one breathless.

The following Roseanna opens with gentle caresses of guitar and vocals, similar to the opener in many ways but sounding distinctly different with its melodramatic atmosphere. Though it does not feel like it the song is building to another dynamic climax, the heated fire of passion unleashed a smouldering and senses singeing glory. The song ends by crying from its rooftops with soaring vocals and dramatic rhythms surrounded by an electrified energy and wired guitar invention. It is a fiery ending to a powerful track and the perfect lead into the best track on the release.

Mon Reve is aural addiction at its richest, a mesmeric and imaginative weave of enticing harmonies, sizzling guitar play, and stomping rhythms. At times it reminds of Lost Prophets, the band scorching the air with further impressive and energetic melodies. The quieter aside mid way initially stops one in full romp but is so well crafted and fluid going into and out that it only enhances an excellent song for the fullest pleasure.

The release is completed by The Story Of Alaska Pt. 1 and Control. The first has a slightly reticent entrance, its opening presence heartfelt yet haunting and speaking from the shadows of the song. Eventually it emerges into the light turning in to a stirring and slightly agitated pleasure, emotion dripping from every syllable and passion drenching every note. The closing Control is just a feisty little devil of a song, its contagion and energy irrepressible yet again dramatically powerful. It is a near perfect pop song, one to light up heavy hearts, shower any grey day with light, and to have one reaching beyond their dampened limits.

Alaska Campus is a band all should be aware of and with the release of When We Were Young more than likely will be. They are one of the bands destined to drive the future of indie music in the UK to greater pastures and heights, now is the time for all to climb on board with them.

https://www.facebook.com/AlaskaCampus

RingMaster 30/08/2012

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Fuck Hammer: Hammered To Fuck

As subtle as a house brick between the eyes and at times just as painful, Fuck Hammer is a quartet from Northern Ireland who twist their brand of death metal into a grind, crust, and sludge veined corruption. It takes no prisoners nor wants to make friends, but just consumes and blasts every atom, with venom and festering intensity.

Hammered To Fuck is the first EP from Fuckhammer and was originally self released as a limited quantity CDR. The release found a great response and reviews within the local scene and caught the attention of the young Northern Ireland death metal label, Grindscene Records who has now given it a professional re-release. Musically it is a pit of noise with flavours from the likes of Crowbar, Eyehategod, Iron Monkey, and Carcass. The production is not the best it could have been but offers a rawness which adds to the violating tempest which assaults from every angle whilst the sound, as well as the vocals, brings an abrasive consumption with no respite.

The opening Born Of The Ass immediately goes to work on the senses with a delicious greedy groove which winds and grinds its way deeper and deeper.  As the bile spewing serpentine vocals come in the riffs flare up before returning to that persistent destructive groove. The song in many ways is repetitive but it works great and to be honest when the track does venture slightly away from its sonic shaft one wants that irresistible groove back to rub the wounds it caused even more. The track, like the whole release, does not have any designs to restyle or invent its core sounds but just unleashes the intent to wring every essence from them for the best results.

The following Drone mixes things up with flurries of tempos, beats, and crunching riffs. The twists and turns all brought with the fullest intensity make for two minutes which do not reflect the title at all but still offer a thick sludge oppression to admire. The guitars and drums crush and dispose of any obstacles within the senses with undeniable strength and craft so for even in its brief assault the song is a thunderous enjoyable confrontation.

The remaining Hillbillies and Abortion Addict vary things again, the first with a stoner swagger to its death spawn vocals and conspiracy of insatiable grooves and thrash tinted riffage, whilst the second is a grindcore/death metal avalanche of towering riffs and abusive rhythms. Their hunger is different in intensity too with Hillbillies chewing on the senses with a southern greed and incestuous appetite whilst its successor gnaws and consumes with a rabid vehemence, the release again creating a varied violation to be endured and ultimately enjoyed.

Fuck Hammer is a band still in its informative years musically one feels and as such Hammered To Fuck is not drenched in any really distinct originality, its sounds heard elsewhere though dished up in a different and energized way. Vocally too some diversity would have been a good additive. The delivery and spiteful aggression works well for the most part but do diminish and distract from the effect of some aspects of sound like the tighter grooved parts without a complimentary variation.

For all that though the EP is an enjoyable release giving plenty of promise for the band and an anticipation of what will emerge when they are given access to a proper studio and production set up.

www.myspace.com/fuckkhammer

RingMaster 30/08/2012

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Triggerman: Hail To The River Gods

With the rhythmic bombardment of a Black Tusk, the monster riffs of a Mastodon, and the mischievous grooves of a Red Fang, we bring you arguably the most exciting release of the year in Hail To The River Gods from Northern Ireland stomp rioters Triggerman. The seven track release is a monster of an album which simply lights up all the senses, accelerates the heart, and has limbs doing movements only the devil could have designed. If the likes of the bands previously mentioned and those of Orange Goblin, Clutch, and EyeHateGod ring your bell, Triggerman will be your next orgasmic pleasure.

Hail To The River Gods is the third album from a band formed in 2002, with the current line-up of vocalist and guitarist Bap, guitarist Niall, bassist Dixie, and Rory on drums, in place since 2009, give or take a month or two. It follows the critically acclaimed Brand New Day of 2010, a release which had the likes of Metal Hammer and Classic Rock Magazine drooling. Heavier than a mud slide and more rampant than a dog in heat with the moves to match, the album is a senses tenderising thrill of metal, stoner, and classic rock with plenty of other additives to spice the unbridled enjoyment. It is a release which is not trying to invent or re-design anything, just one wanting to unleash the biggest towering grooves and riffs known to mankind, which it does with accomplished skill and energy.

The Derry quartet opens up with Rage Of The Goddess and immediately seize hold with eager welcoming rolling rhythms and fiery guitar chords. The vocals of Bap soon enter to begin the tale of the title, a mythological air soaking every word though at times any woman scorned can fit the story; yeah we have all been there guys. His delivery throughout the release is a spoken growl in a similar style to Jello Biafra which adds to the muscular and raw energy of each and every song, verbal and musical biceps flexing with every word and note. The constantly agitated fury of the drums is a hypnotic pull whilst the guitars and bass unleash crushing hungry riffs with ease. The glorious solo which scorches the air as the song reaches its climax leaves the scent of burnt flesh in its wake which lingers whilst the track evolves into its successor.

      Rise Of The Woodsmen is a storming assault, a raging onslaught dripping sweat, power, and menace like its subjects. For two and a half minutes the track works every sinew within its colossal body, riffs bulldozing everything in sight and grooves sparking fires, their melodic embers showering the skies. The song is a worker, a track which gets things done without distraction or obstruction and loving every damn minute of it, which ensures we do too.

Every song on the album is immense and the provider of infectious glory but some do stand on the top step above others, such is the case with the title track. Hail To The River Gods is a song which with its story of men going off to sea and paying homage and prayers to the River Gods for protection, is rife with absorbing folk metal spicery. At times it teeters on the edge of pirate metal with essences of Alestorm raising their bones. The song is a prowling stomp, again a hard working beast of a track which reflects the energy and muscle of its content.

     Th’on Strange Brew is a magnetic treat, its stoner grooves sirenesque and thicker than tar. The fumes the guitars conjure with their riled riffs overwhelm and intoxicate the senses and with the rhythms inciting the devil inside and a groove which unleashes a wanton wickedness, the track is a wonderful danger to man and beast.

The sixties blues tinged pagan breath of Flower Of Life takes another contagious diversion as the album again shows diversity whilst the closing pair of the brilliant Wake The Dead and Blind Side Of The Moon twist and bewitch the ear with insidious intent. The first of the pair is a fury of anthemic rhythms and aggressively driven riffs, a charging call to arms which is irresistible and the second a sludge flavoured prowl which drags its listener through every treacle thick shadow and oppressive dark corner within its oppressive heart. Wake The Dead emerges as favourite song on the album but all leave nothing but deep pleasure.

Quite simply Hail To The River Gods is one of the best releases this year and Triggerman our new best friends. Go discover them for yourselves and join their addicted ranks too.

http://www.triggerman.co.uk

RingMaster 29/08/2012

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Kill The Conversation: Farewell For The Last Time

Already before its release the new EP from UK metalers Kill The Conversation seems to be splitting opinions remarkably, some loving it and others finding a loathing usually reserved for young Bieber. Farewell For The Last Time is a release which will either work for you or not. It admittedly has its limitations and unfulfilled potential but still is an impressively enjoyable slab of sonic brutality.

Kill The Conversation is obviously a band unafraid to try things and though it does not always come off it is refreshing. Though crossing a few genres, their sound is metalcore based and in a category which has become quite static in its invention, a band at least trying to be unique is better than one just offering another carbon copy assault. The five tracks on the EP are a concussive confrontation which leave a deep scarring behind them, at times painful and in others abusive but always intriguing and unpredictable.

Formed in 2009, the Dorchester quintet has already grabbed opportunities to make an impact through the sharing of stages with bands such as Sepultura, Rise To Remain, Malefice, and Revoker. Their debut EP Figure Of Speech also drew the attention of people but with Farewell For The Last Time it is accurate to say the band will not go unnoticed. Comparisons to the likes of August Burns Red, Bring Me The Horizon, The Devil Wears Prada, and Parkway Drive have been ringing in their ears as people try to find a tag but though the band echo of a few they create ideas like no one.

The EP starts with a melodic but agitated atmosphere around a sample from the Churchill speech at the declaration of war, though Fold soon erupts into a blistering surge of coarse riffs and an explosion of abrasive guttural vocals. Once into its stride, the guitars of Liam Garry and Luke Toomer offer up an acidic clinging groove and flesh wilting strikes before the heavy artillery of the band takes over with heavier impactful riffs, crippling rhythms and vicious vocals from Jack. The song is arguably quite straightforward and possibly not the most adventurous but still a powerful blood pumping exercise in towering metal.

The following Shattered Shell immediately comes at the ear at full throttle, its badgering riffs and malicious vocals a scurrying and predatory playmate for the senses. The track soon mixes things up with pace twists and rhythmic contortions from drummer Brad Birchall. As the song evolves it takes a break, putting the intensity on a leash for a breather whilst stabbing riffs and beats break the air. The sound at this point is clean but festering an anger which is soon expelled as the track returns to its malevolent ways. The climax feels like the song is standing over and chewing ones carcass amidst triumphant and gloating pig squeals from England. The track is a stirring and provocative brute which labours a little against the opener but opens an appealing well of invention from within the band, something the following song continues.

No More Fish In The Sea is simply chaotic magnificence, a sprawling wave of imagination. It opens with riffs rifling the ear and rhythms holding guard over the intrusion. Sonic manipulations litter the air to ignite deeper interest whilst again England spews his own style of vehemence. His delivery though not especially diverse, is soaked in passion and mischief adding fluctuating character to proceedings. The band throws chugging riffs and a melodic scorching across the senses as it works into the song and though again it is maybe not high on originality one eagerly basks in the towering combat being waged upon the ear. A break into a raw and hollow peace which leads into a post hardcore attack vocally and musically, allows the excellent bass work of Laurie Thomas the clarity it deserves but is often missing elsewhere. Returning to a metalcore climax the track is a gem with only the switch into the unexpected aside lacking not as successful as it could have been. The returning banshee shrills are good too though hopefully England will not overplay them in the future to diminish their strength.

The remaining two songs keep things running on a high. Blakes Demise is a bruising encounter which tests the resolve but counters its vindictive nastiness with cutting addictive riffs, an insatiable groove, and infectious ear candy melodics It is a good song surpassed by City In Ruin. Starting with another speech sample the track spears its air with fiery sonic bursts from the guitars before exploding into a riotous feast of energy and melodic enterprise which seemingly teeters on folk metal. The track is excellent with more twists and turns than a slinky on the stairs though again it is unable to bring fluidity to the transition between the contrasting sounds talked of and the charged metal onslaught which closes the song.

Farewell For The Last Time is an impressive release which holds great promise for Kill The Conversation. For sure the band is not the finished article yet and probably are destined to always rub some up the wrong way but if they carry on like this they will find and give formidable riches.

www.facebook.com/KillTheConversation

RingMaster 29/08/2012

Copyright RingMaster: MyFreeCopyright

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Humangled: Odd Ethics

By the third track on Odd Ethics by Italian death metalers Humangled, there was only one direction to go after the completion of this review and that was straight to their back catalogue. The four track EP is the first introduction to The RR of the band but did not take long in ensuring it would not be the last. It is a deeply impressive release offering something different and fresh to a genre admittedly bursting with strong and powerful releases right now, though it is fair to say no one has the distinct smell and taste of Humangled.

From Pisa, the band began way back in the nineties with their first demo Anatomic Butchery appearing in 1996. Though it was well received the band broke up soon after, but in December 2006 vocalist Andrew Goreds and guitarist Luke Scurb joined up once more and Humangled was revived. The following year saw the Refoetalize EP and its unexpected storm of brutal death metal with electronic-industrial rhythms unveiled. The release was well received and after the release of the MCD Edge of Beyond in 2008, the band started work on their debut album Fractal, its acclaimed release coming in 2010 after the band signed with Abyss Records the same year. With guitarist Vhell Miscarriage, bassist Frank Nichols, and drummer Fred Valdaster alongside Goreds and Scurb, Humangled return again on Abyss with another impressive slab of their immense and enterprising metal. Produced and mixed like the album by Dan Swano, Odd Ethics is an imaginative and brutal corruptive pleasure.

Opener Needles Of The Blind takes no time in raging and stomping through the ear with juddering riffs and explosive rhythms, immediately demanding and getting full attention. It is a highly charged mix which ignites all the passions instantly, something not many death metal offerings manage to achieve, usually they have to wear the defences down a little first. With drops and surges in pace and energy, the track is an ever shifting onslaught rife with tumultuous riffs, finely crafted additive grooves, and inspiring imagination. Though it is arguably the most straight death metal track on the release the song is an innovative fury of diverse flavours to fire up the heart. Vocally Goreds conjures a mix of heavy guttural attacks and a caustic blackened delivery for a challenging and compulsive abrasion as direct and pleasing as the music.

The following Skinned, To Feel All opens with a hive of waspish riffs wrapped in a groove which burns on contact, its scorching touch upon the ear acidic and hypnotic. Musically the track is an eccentric blend of doom and sludge metal milked through a death driven rock n roll filter. It is a triumph, an insatiable and incessant grind upon the senses as addictive as any forbidden pleasure can be.

Smells Acrid steps up next to claim its chunk of flesh. As with its predecessor the song opens with a persistent and insistent shower of riffs, all drilled home with a hunger which cannot be appeased. Less rampant but just as forceful and eager as the song it replaced, the track creates a maelstrom of energy and intensity which is the nastiest yet and the most contagious.

The release closes with Deny Your Creed , a song whose initial presence suggests a slower more intense breath at the ear. Intense it certainly is but restraint is never on the cards as it fires a spiral of venomous riffs and spiteful grooves through the eagerly awaiting cavities. Though it shifts from gear to gear throughout, the song with breath stealing energy, bombards with thrash powered riffs and blood boiling sonic ferocity. It is a glorious finish to an exceptional release.

It would be amiss not to spotlight the musicianship within the band especially the skill and sheer brutal might of Valdaster. He is an unbridled beat tempest at times with the control and rhythmic leadership of a master, his skilled frame work and driving energy inspiring the rest of the band to ignite their individual craft.

    Odd Ethics is immense, Humangled even greater, nothing else to say except go check them out.

https://www.facebook.com/Humangled

RingMaster 29/08/2012
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Monsterworks: Man::Instincts

Though they have been producing their distinctive style of creativity for well over a decade, the EP Man::Instincts from Monsterworks is our first introduction to the band, and a surprising and initially disorientating release it is too. Consisting of three songs which evolve within the ear, the release is a hypnotic and wide array of sub genres and metal flavours. Unpredictable and intentionally challenging, the EP is a provocative brew of styles with rewards which are vibrant, compulsive, and wholly enjoyable.

From Wainuiomata in New Zealand and now UK based, Monsterworks has across their fourteen years as a band, released two demos and seven albums which going by research and the sounds on this their debut EP, have more than likely all treated the listener to startling and uncompromising invention. Previous releases has included a metal space adventure concept album which came in the two parts of Spacial Operations and Singularity in 2007 and 2009 respectively, and last year an album which explored philosophical territory, The God Album. The band creates music which surely is as a big an irritant to those which have to tag and label as salt is to slugs. Their sound is a striving perpetual and fluid weave of sounds; classic, stoner, black, power, a mere few of the mass of multi metallic essences woven together in a seamless soundscape of imagination. Arguably it should not work but it does and effectively as Man::Instincts easily proves.

The first track The Creation Dream opens with instantly engaging guitar caresses which capture the imagination within moments, the melodic heat rippling off their play mesmeric. The song soon brings a muscular breath to its flight as black metal vocals scowl with venomous intent and classic metal cries permeate the background. As the tempered but brewing storm of sound wraps the ear the song is a warm consumption which ignites with fiercer surges as it moves into a folkish progressive climax. The guitar play of Marcus and vocalist Jon is skilled and constantly enthralling whilst the rhythms built by bassist Hugo and James on drum, are forceful without overpowering or deflecting from the craft of the song itself.

All Suns Die erupts with an instant blackened scramble upon the senses, the disruptive and shifting rhythms explosive and agitated. As it progresses the track explores melodic rock, progressive metal, heavy metal and more. In a mere three minutes or so it encapsulates a maelstrom of aural spices like colours within a jigsaw and like that it all fits perfectly and flows as one. It is instinctive with no sign of elements being forced or added just to be different. There are moments personal tastes are not quite sure about but it is never an issue to derail the quality and enjoyment given.

The closing track Free Will has a feisty intent, its trash surges raising the heart rate amongst the blackened veins and classic shrills. The song is arguably less eclectic of the trio, preferring a less changeable core but is no less impressive and powerful. It is true to say there is something for everyone on Man::Instincts and no doubt their albums too, though possibly for some the vast expanse to the music in its diversity will be a challenge too far, but you do not know until you try, right?

Released via Mortal Music as the second in their series of digital releases which began with the excellent IV v1.0 from ION VEIN, Man::Instincts is an excellent introduction to newcomers and continuation for existing fans.  With whispers that the EP is a taste of what is to come within future album The Album Of Man, anticipation and the need to discover the back catalogue of Monsterworks is eager.

https://www.facebook.com/monsterworks

RingMaster 29/08/2012

Copyright RingMaster: MyFreeCopyright

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